'All these people made their way to the show in a blizzard. Afterward I went out front on Wells to fetch my car to load gear out the back. Two drag queens we knew who followed the band were having a fight on my car.'
Since 2004 Plastic Crimewave has used the Secret History of Chicago Music to shine a light on worthy artists with Chicago ties who’ve been forgotten, underrated, or never noticed in the first place.
Black was born at Loretto Hospital on the west side of Chicago on March 5, 1955, and raised in Lombard by parents she calls “very advanced hipsters of their time.” Her father was a well-loved bandleader, comic, and emcee, and she says he was in the running for the late-night TV gig that Johnny Carson eventually landed. Black’s great-uncle on her mother’s side was vaudeville-era singer and recording artist Sir Harry Lauder, who in 1908 became the first artist signed to Victor Records.
This version of the band lasted till fall 1980—as Stowell describes it, they dissolved by “crashing into wreckage in classic Pete Townsend style at a performance at O’Banion’s with Ed Yeo smashing his Les Paul to bits.” Binder left abruptly to join Buddy Guy and Junior Wells on an international tour, Cers went back to Minneapolis to start architecture school, and Yeo joined 4XY .
Stations were booked to open for Joy Division on what would’ve been their first U.S. tour, at Tuts on Belmont on May 27, 1980. Three days before the gig, they got the call: the whole tour was canceled, because front man Ian Curtis had committed suicide on May 18. “We began working in earnest, writing new material rapidly and getting ready to play live gigs,” Stowell says. “In my mind that was the best iteration of Stations. We just clicked, and the songs started coming fast. We played better venues—Tuts on Belmont, Cabaret Metro, and multiple shows at the 950 Club, also known as Lucky Number.”
Hannett returned to Manchester with the 24-track master on two-inch tape. Eventually he sent back a cassette of three rough mixes: “Climate of Violence,” “Demonstration,” and “In Defense of Cosmetics,” the last of which featured R. Lewis Floodstrand of 8½ on saxophone. Hannett had mixed them at Strawberry Studios in Stockport, the home base of 10cc for much of the 1970s.
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